Using Foreign Band Music with American Bands

When bands of the United States and Canada use foreign editions of music, particularly
older editions, they invariably encounter problems in matching instruments and parts.
In this appendix, many of the differences are explained, and suggestions are
made on how to use parts.

This information was extracted from guidelines established for bands that used music
from the private library of the late Robert Hoe, Jr. for recording the Heritage
of the March series of LP records. Numerous American and European bandmasters
and librarians were consulted in the preparation of the guidelines. Although
not meant to be a comprehensive set of rules for the use of foreign music publications,
their practicality has been demonstrated.

British Music

Today's editions of British band music are compatible with American band instrumentation.
To use editions printed in the late 1800s, however, adjustments must be made.
British band music of that era was similar to that being published in the
United States at the time, although the British sets were usually more complete.
Suggestions for using the old British sets are as follows:

E-flat piccolo. For piccolos pitched in C, this part must be transposed the
same way a D-flat piccolo part would be transposed. (English manufacturers
made both E-flat piccolos and E-flat flutes in those days.) Transposition
is confusing, because the E-flat part is actually written in D-flat, and the F
part is written in E-flat.

Alto clarinet. The E-flat saxophone part was often used for the E-flat alto
clarinet. This part was usually more suitable for the saxophone than for the
alto clarinet.

Bass clarinet. Bass clarinet parts were often printed in the bass clef rather
than the treble clef, particularly in older sets. They were sometimes printed
on the same page with the bassoon part, also in the bass clef. Most bass clarinet
players do not read bass clef, so the parts should be re-written in the
treble clef in B-flat.

E-flat trumpet. If used with B-flat instruments, this part must be transposed
by raising it a fourth. Important melodic and fanfare parts often occur in
this part, so it should not be omitted.

Solo E-flat saxhorn. This part was originally intended for the E-flat alto
horn. It may be used by the alto saxophone if no part is provided for it.
It may also be transposed for French horn.

1st and 2nd trombones. These parts were often written in the tenor clef rather
than the bass clef. If the players do not read tenor clef, the parts must
be re-written in the bass clef. (Note that the 3rd trombone or bass trombone
parts in British editions have always been written in the bass clef.)

Baritone (treble clef) and euphonium (bass clef). These are two different parts,
and neither should be omitted. The British Army deleted the baritone from
its bands in 1921, and publishers thereafter assigned the baritone part to the tenor
saxophone. For the sake of authenticity, post-1921 tenor saxophone parts should
usually be played on the euphonium or baritone. Certain works were issued
in special expanded editions which could be used with either military (concert)
bands or British-style all-brass bands. In the expanded sets, there were four
baritone/euphonium parts: 1st baritone (treble clef), 2nd baritone (treble clef),
B-flat euphonium (treble clef) and euphonium (bass clef). The two baritone
parts were intended for brass bands only, so the two euphonium parts should be used
with military bands.

Italian Music

Until very recently, Italian band music was published in full conductor's score
only, so it was necessary to extract parts for the musicians. This applied
not only to shorter works, such as marches, but also to lengthy works such as the
tone poems of Respighi. Italian instrumentation differs from American instrumentation
in that the saxhorn family is the basis of the brass section, with the flugelhorn
being the predominant soprano voice. A typical Italian publication contains
the following parts:

Ottavino in Re b, or piccolo. Piccolo in D-flat

Flauto in Do. Flute in C

Clarinetto piccolo in La b. A-flat sopranino clarinet

Clarinetto piccolo in Mi b. E-flat sopranino clarinet

Clarinetto soprani in Si b. B-flat clarinet

Clarinetto contralti in Mi b. E-flat alto clarinet

Clarinetto basse in Si b. B-flat bass clarinet

Saxofono soprano. Soprano saxophone

Saxofono contralte. Alto saxophone

Saxofono tenore. Tenor saxophone

Saxofono baritone. Baritone saxophone

Contralto in Mi b. E-flat horn

Cornetta in Si b. B-flat cornet

Trombe in Mi b. E-flat trumpet

Trombe in Si b. B-flat bass trumpet

Corno in Mi b. E-flat horn

Trombone del canto. Tenor horn or small bore euphonium

Trombone tenore. Tenor trombone

Trombone basso. Bass trombone

Flicorni sopranino in Mi b. E-flat soprano flugelhorn

Flicorni soprani in Si b. B-flat flugelhorn

Flicorni contralte (genis). Alto flugelhorn (alto horn) in Mi b

Flicorni tenore. Baritone (treble clef)

Flicorni baritone in Si b (bombardino). Euphonium (bass clef)

Flicorni basso or basso. Bass I grave (eufonio)

Flicorni contrabassi. Bass II

Timpani. Tympani

Triangolo e tamboro. Triangle and snare drum

G. cassa e piatti. Bass drum and cymbals

American bands using Italian music should distribute parts in the following manner:

Spanish Music

As in Italian bands, the main soprano brass instrument is the flugelhorn. For
authentic renditions of music such as the unique pasodobles, parts marked for the
flugelhorns should be played only on those instruments. If flugelhorns are
not available, those parts should be played on cornets, not trumpets. Spanish
band editions include the following parts:

Guion. Conductor (usually in B-flat)

Flautin. Piccolo

Flauta. Flute

Reliquinto. E-flat soprano clarinet

Clarinete pral. Solo B-flat clarinet

Clarinete 1o, 2o, 3o. 1st, 2nd, 3rd clarinet

Clarinete bajo. Bass clarinet

Oboe. Oboe

Fagot. Bassoon

Saxofon alto. Alto saxophone

Saxofon tenor. Tenor saxophone

Saxofon baritono. Baritone saxophone

Fliscorno primero. 1st flugelhorn

Fliscorno segundo. 2nd flugelhorn

Cornettin. Cornets (often fanfare-like parts)

Trompeta. Trumpet

Trompa. French horn

Trombon. Trombone

Bombardino (baritone). Euphonium or baritone

Bajo. Bass

Caja. Snare drum

Bombo. Bass drum

Platillos. Cymbals

Timbales. Tympani

Spanish publishers do not consistently provide parts for all instruments used in
American bands, so American bands can adapt the following parts if necessary:

German Music

German editions of band music are much different from those of most other countries
in that they make unusually heavy demands on the brass section. Basically,
there are two types of German band publications. The first is blechmusik%r,
for all-brass bands. The second is militarmusik (infantrie-musik), which is
for concert/military bands. [For further information on German band instrumentation,
see the biography of Wilhelm Wieprecht.] The parts provided with a militarmusik
(infantrie-musik) set are as follows:

German editions need to be studied carefully before use by American bands.
Omitting certain parts would destroy much of the unique Teutonic flavor.
Some suggestions for distributing parts are as follows:

Piston in B-flat. This is the leading brass voice.

Flugelhorn in B-flat. If no piston in B-flat part is provided, this is the leading brass voice.

Trompete in B-flat. This is an essential part, especially in marches.
In transcriptions of symphonic works, this part covers important trumpet parts.

Trompete in Es. This part is more rhythmic than melodic and is intended to
be played on an alto trumpet. It usually reinforces the trombone.

Tenor horn (bass flugelhorn). These are essential parts.
In most German band publications, there are three separate tenor horn parts:

The tenor horn 1 part is the leading tenor voice and should be played on the euphonium;

the tenor horn 2 part is a harmonic part and can be played on the tenor saxophone;

the tenor horn 3 part is rhythmic and can be played on the bass clarinet.

There is only one tenor horn part (bass flugelhorn) in Austrian editions, and this should be played on the euphonium.

Bariton. This is a prominent part and should be played on the euphonium.

French Music

There are several difficulties when using French band music with American bands,
so thorough study of each individual part is recommended. Since there are
many fine works available only in French editions, the study is usually worth the
effort. A typical French band publication has these parts:

Conducteur en Si b. Conductor in B-flat

Petite flute en Re b. D-flat piccolo

Grand flute en ut.Flute in C

Hautbois. Oboe

Contrabssse en Mi b.Bassoon

Petite clarinette en Mi b.E-flat soprano clarinet

Clarinette in Si b. B-flat clarinet

Saxophone alto. Alto saxophone

Saxophone tenor.Tenor saxophone

Saxophone baritone. Baritone saxophone

Petit bugle en Mi b.E-flat flugelhorn.

Bugle en Si b.Flugelhorn in B-flat

Cornet en Si b (cornet-a-piston).B-flat cornetbajo

Trompette en Mi b.E-flat trumpet

Alto en Mi b. E-flat alto horn

Cor.en Mi b. E-flat horns

Trombone. Trombone

Baryton (treble clef).Baritone (treble clef)

Basse in Si b (basse primier or basse solo). Euphonium (bass clef)

Contrabasse en Mi b.Tuba I in E-flat (bass clef)

Contrabasse en Si b.Tuba II in B-flat (bass clef)

Caisse claire.Snare drum

Grosse caisse et cambales.Bass drum and cymbals

Castagnettes et triangle. Castanets and triangle

Guidelines for using certain parts with American bands are given below. It is
very important to note that parts printed in the bass clef must be transposed to concert pitch.

Bugle in Si b. Using this part is optional, because it usually doubles the clarinet part.

Cornet en Si b. This is the leading brass voice.

Trompettes en Mi b. These are important parts and should not be omitted.
They must be transposed up a fourth.

Cors en Mi b. These parts should always be used.
They are often coordinated with the altos en Mi b to provide four-part harmony.

Baryton (treble clef). This is the most important euphonium part.

Basse en Si b (basse primier or basse solo). To arrive at concert pitch, this part must be transposed down one full step.

Contrabasse en Mi b. To arrive at concert pitch, this part must be transposed down a sixth.

Contrabasse en Si b. To arrive at concert pitch, this part must be transposed
down a ninth.